The sun is shining, who wants to come and play?

Devoted and Disgruntled Archivist

The sun is shining, who wants to come and play?

Fin Irwin, 1 September 2012

This was convened half way through Session 1. A small splinter group of four disgruntled, sun deprived theatre makers stepped away and sat in the sun. The conversatioin bounced around various discussions that were taking place or due to happen. The discussion I want to share is around this question:

I am here because I feel I need to be, more than I really want to be. Am I the right person?

We are here because we are intruiged, we are here because we are part of the community but were are sat in the sun because we are uninspired by discussions, we are tired of talking and not doing and the prospect of of enjoying a brief moment of nice weather is evidently more appealing than the event.

And then we talked about this and we talked about why we felt disgruntled about being disgruntled and we inspired each other in our solidarity and have re-entered the room with added vigour....

So yeah, I guess we are the right people. And the sun is still shining...

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We live now in information - it is our environment. An aspect of what we can do in response to current events is the information we have about what's actually going on. Perhaps if we can clean up the information environment we will make better decisions about what to do next.

"How do we improve female working class visiblility in the arts?" was the question posed at the start of day.
As a female arts sector leader (Festival Director - therefore a programmer, fundraiser, commissioner, debater, network lead/contributor, ambassador, etc), I felt it was important to ask what people wanted or needed from me, as someone who has a voice -in certain spaces- to offer. I was trying to buck the assumption that I would already know what women wanted from their peers and lead

This Open Space covered a wide range of subjects including gender, ethnicity, stage allies, pre- and post-show ally-ship, awareness, play and best practice.
It was convened by Stephen Davidson (Author: Play Like An Ally and Improvising Gender; Artistic Director: Improvable; Nursery Theatre: Training Centre Manager), Minder Kaur Athwal (Facilitator), Victoria Hogg (Founder: DDG Improv and The Offer Bank).
NB. These notes are not perfect! They were taken long-hand in the moment and are a startin

Why was there an absence of younger improv troups & artists?
What generation is GII tailored for? Does time & experience equate to best practice?
How can we make this an intergenerational space and open up the 'inner circle'?
Will that create better opportunities for both emerging artists and established improvisers?

A discussion about how to create a genuinely safe and open atmosphere in improv classes from the first class someone takes.
How do we protect students from potentially harmful experiences which can arise from the rigidity or literal interpretation of 'Yes, and' ?

These are notes taken as Guy Hartnell shared about the Oogly Boogly project, where performers improvised with babies by copying their movements and sounds, while the babies' parents watched. It took place inside a large inflatable venue. The notes were taken by Catherine Ryan.

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